Colveyco Newsletter

From The CEO

WISDOM OF THE AGES...NO TIME TO WASTE...WE MUST PROCEED A PACE! THE COSMIC WHEELS ARE TURNING AS THE EASTER CELEBRATION BECOMES DISCERNING! THE CLOCK IS TICKING AND TIME FADES INTO OBLIVION'S GRASP! THE INEVITABILITY OF LIFE CYCLES CONTINUE TO SPIRAL BEYOND ALL MANNER OF PERSON, PLACE AND/OR THING CREATED IN THIS REALITY OF ILLUSION. WE ARE ON THIS SOJOURN FOR A LIFETIME SPENT HERE AND NOW. SINCE THE MOMENT OF LIFE'S INCEPTION TO CONCEPTION AS HUMAN BEINGS LIVING IN A STATE OF CONSTANT TRANSFORMATION, WE HAVE BEEN, ARE AND WILL BE THE MIRACULOUS!

THE NATURAL AMBITION TO REACH THE HEIGHTS AND DEPTHS OF THE UTMOST ETHEREAL BEING AS THE MANIFESTED SELF IS TO STUDY AND SEE CLEARLY WHAT WE ARE CREATING THAT IS THE UNIVERSAL 'I AM' OF ALL THAT 'IS' THAT 'I AM'. THE ART OF CREATION BRINGS FORTH MASSIVE WORKS TO DEMONSTRATE THROUGH INFINITE CHANNELS INSPIRATION BY THE DIVINE DURING 'THE EVOLUTIONARY EXPRESSIONISM OF LIFE ENERGY.' IT IS AFFIRMATION TO MOVE BEYOND THE CONCEPTUAL DYNAMICS OF WORDS ALONE WHICH ENABLES THE REVELATION OF THOUGHT TO TRANSFORM ALL LIMITATIONS AND RESTRICTIONS BOUND BY WORDS, PRODUCING THE ULTIMATE EXPERIENCE IN FREEDOM OF THE PERFECTION IN LANGUAGE TO OPEN THE GATES FOR THE 'ARTIST' TO CREATE!

BITS, BITES, PIECES!

REVIEW: HONEY BEES FOR THE QUILTS OF GEES BEND

BRAVA! BRAVA! BRAVA! The omnipresence life energy exudes through the ArtWorks of Hanging Quilts racked and mounted on the walls at the Corcoran Museum in Washington, D.C., where inspired headliners for Quilt making are recognized for the natural talents to create out of necessity in a showing which is running until May 17th. Mary Lee Bendolph and Arlonzia Pettway represent a spirit that never dies through the telling of stories via ArtWorks of quilt making. The simple but intricate and complex mastery of craftsmanship produced by the many women of Gee's Bend surpasses intellectual comprehension and pronounces the soulfully spiritual pulse of the Human experience from within the amazing depths of an emotional and psychic rejuvenation. Their extraordinary lives are echoing from the Museum's Gallery Chambers with an invitation for all attendees to really look at the truth of Being Human through the natural course of 'The Evolutionary Expressionism of Life Energy'.

Housetop

These Quilting Ladies of Gees Bend have produced a body of work for an exhibition like the heavens. They have interwoven their stories of blood, sweat, tears and great joy of living with bitter sweet mixtures of the ups, downs and in between for Human Beings to grasp without hesitation. They worked the fields, tilled the soil, attended the farm animals and celebrated life amidst seemingly insurmountable experience of the Human struggles, stresses and strains of their times gone by to be here today!

Like a honeycomb dripping with honey for Buzzing Bees to create an impeccable taste of delicacies for delight, the visual impact of the Quilt makers Bits and Pieces are like Bites of a syrupy sweet from the all-black settlement surrounding a bend in the river and named after a powerful white landowner in the deep south's Missouri, Alabama. The sun sets and rises in the heavens of ones heart when contemplating the extraordinary challenges during this point of Human evolution where slavery and sharecropping was the norm of the day. The championship of the toiling lives riddled with disease, malnutrition and numerous lynching of negro-bodies swinging from southern trees like strange fruit institutes a precedence over the lackadaisical, blasÈ, somewhat nonchalant attitudes about the blessings we receive in this modern society. This exhibition affirms that what we take for granted today was something to be lived for in that day : 'FREEDOM'.

Quilting old jeans found on roadsides, strips of cloth found on riverbanks, rags found at campsites, and old flour sacks provided simple warmth and a compassion for life. Arlonzia, now 80 years upon this life's sojourn states with a dignity and strength, "I've had a hard life." She recalled a brief memory, "they had some farmers do good on the land. Some didn't do well. My daddy was one of the farmers who didn't do well. The boss man would get mad. Well, one year, I'm pretty sure it was 1931, some bulls were brought to Gee's bend. The so-called good farmers got a bull to plow with. The farmers that weren't doing well didn't get a bull. My daddy and brother had to pull the plow themselves because they couldn't get a bull. The overseer, the boss man, died. His widow thought it time to tally up, and went from farm to farm, demanding payments that she said the sharecroppers owed him. And now owed her. Absent cash, food and supplies were taken. I heard screaming all over Gee's Bend, people saying, "Lord, what am I going to do?" Such is the typical condition for many Human Beings and the saga continues...in an uplifting direction for the worth, value and treasure of the Human spirits are shared in the preservation of 'The Evolutionary Expressionism of Life Energy.'

The Washington Post, Sunday, February 15, 2004, ran an wonderfully written and detailed article, "Uncommon Threads" by Wil Haygood, in addition to the Corcoran Museum's barrage of paraphernalia, books, cards, etc., about the Gee's Bend Quilts. It is worth the intrigue, discovery and exploration to experience the captured souls of the times threaded together by ageless spirits of Gee's Bend. This is not the only Quilting community in America, but few other places can proclaim the density of Gee's Bend's artistic achievement, which is the result both of geographical isolation and an unusual degree of cultural continuity," Alvia Wardlaw writes in the introduction to "The Quilts of Gee's Bend".

Web sites: Corcoran Museum
Gees Bend Facts Gees Bend Quilts

CHERRY BLOSSOM 2004

The Japanese Ambassador, Ryozo Kato and the District of Columbia, Washington, D.C., Mayor Anthony A. Williams, headline the 150th anniversary of the beginning of a formal relationship, marked by the signing of the Treaty of Peace and Amity in 1854 during Commodore Perry's second visit to Japan and the 92nd anniversary of 'Cherry Blossom Trees in Washington, D.C.', Sunday, March 28th at the Tidal Basin. The primary focus on 'Cherry Blossoms' graciously upstaged the Human efforts to celebrate their multiple existence around the Tidal Basin of the Nation's Capitol terrain without discreption but a bursting exuberance that radiated throughout the day. Once the formal ceremony was completed which included: Prelude Music by The Cardinal Choir, Kaoru Saigo, Assistant Director and the Washington Toho Koto Society, Sakura Music, Kyoko Okamoto, Founder and President; Introduction of Visiting Guests and Welcome Co-chairman Akiko Keene & Mark Rhoads; Joint Armed Forces Color Guard Military District of Washington; National Anthem's of Japan and USA; Invocation by Rev. Junichi Saigo, Washington Alliance Christian Church, Potomac, MD.; Flute solo by Kazuko Stratmann; Welcome speeches by Hon. Anthony Williams, Mayor; Paul Sweet, President, National Conference of State Societies; Gentry Davis, Deputy Regional Director for the United States National Park Service, National Capitol Region; Brad Elmore, President, National Cherry Blossom Festival, Inc.; Friendship Greeting by Evans Revere, Director of Japan Desk, U.S. State Department; Response by His Excellency Ryozo Kato and Lighting of the Stone Lantern, Tomoko Shiojiri, 2004 Embassy of Japan Cherry Blossom Princess, life was but a dream.

Now here is an event we experienced where the primary focus of Cherry Blossom Trees upstaged the Human efforts to celebrate their multiple existence around the Tidal Basin of the Nation's Capitol terrain. Here is a little bit of background information: The First Lady, Mrs. William Howard Taft, had once lived for a brief period in Yokohama and had admired the beautiful blossoms. She wanted to bring that beauty to the Tidal Basin area that in her day was a swamp. Mrs. Taft and Vicountess Chinda, wife of the Japanese Ambassador, planted the first two trees on March 27, 1912 in West Potomac Park. The same two trees, now 90 years old, are still living only 20 yards west of the Japanese Stone Lantern on the Tidal Basin.

In the '20s and '30s a variety of informal cherry blossom ceremonies when the trees were in bloom evolved into a traditional expression by '39, when the states societies in Washington recruited female college students to be "Cherry Blossom Princesses" representing their home state in a festival parade celebration. Then the disruption of World War II affected the Humanitarian relationship of east and west, however with the end of war in '45, civic leaders, including officers of the state societies in Washington, D.C. planned the resurrection of United States and Japan relations by resuming the festival ceremonies as part of a long-term diplomatic effort to help restore peaceful bilateral interrelationship and indelible friendship.

The first post-war festival was held in April '48 catapulting the healing process of a mourning civilization to the forefront of Human revitalization. While many organizations sponsor festival events over 52 years, the National conference of State Societies is the only civic organization that sponsors the Cherry Blossom Festival Event since '48. Now the lighting the Japanese Stone Lantern at the Tidal Basin has been an annual highlight of the National Cherry Blossom Festival since '54. Thousands of local visitors and tourists come each year to view the majestic beauty of more than 3,000 cherry trees that bloom along the Tidal Basin near the Washington Monument. It was 50 years ago, Japanese Ambassador Sadao Iguchi presented the lantern to the people on March 30, '54, marking the 100th anniversary of the first treaty between Japan and the United States of America. This event sealed the continued observation of this bit of history as the 150th anniversary of the same treaty. The Commodore Matthew Perry of the U.S. Navy signed the treaty March 31st, '54.

This Lantern is one of two stone lanterns which stood outside a temple called the To-ei-zan Kan'eiji in the ancient city of Edo. Today Edo is called Tokyo and the Lantern was moved from Ueno Park where it stood from 1651 until 1954. The Lantern has now stood on this spot on the Tidal Basin for the last 50 years. The Lantern symbolizes friendship and peace between Japan and the U.S. It was carved by Japanese stone workers 353 years ago. A worn inscription on the Lantern refers to a date on the calendar of ancient Japan that is equivalent to November 20, 1651 on the Julian Calendar then used in Europe and colonial America. The Lantern weighs two tons and stands eight and one-half feet tall. This type of Lantern was used to honor the Shoguns of the Tokugawa period. It is the oldest freestanding man-made stone structure in Washington, D.C. It was first lighted in Japan only 31 years after English pilgrims landed at Plymouth Rock and 125 years before Thomas Jefferson wrote America's Declaration of Independence.

What all of this amounts to here and now is 'The Evolutionary Expressionism of Life Energy' unfolding its causes and effects of Human existence. The ideal far exceeds the actual events intent and purpose to celebrate the sesquicentennial of Japan-American relations and the friendship and benefits derived from these ties.

For information visit website:
Cherry Blossom Festival

J. MCNEILL WHISTLER

Portrait of Whistler, 1897
by Paul Cesar Helleu
(French, 1859-1927)

Upon happenstance one ventured into the Smithsonian annex "Freer Gallery of Art and Arthur M. Sackler Gallery off the Washington, D.C. Capitol Mall where the reknown Mr. Whistler's Galleries- Avant-Garde in Victorian London reincarnates itself in 2004, yet scarcely known painter and printmaker, James McNeill Whistler, who was impactful as a designer of both private and public interiors inspired a special collaboration between the Freer Gallery of Art, Smithsonian Institution and the Virginia Museum of Fine arts, Richmond, the exhibition previously on view at the Freer from November 20, 2003, until April 4, 2004.

The exhibition pronounced the clarified techniques, drawn from the worlds of domestic decoration, fashion, and the theater, were as advanced as the art they showcased for Human cultivation. The 'salon style' of hanging pictures frame to frame, floor to ceiling created installations reminiscent of Whistler's spare domestic interiors, anticipating future modernist styles of displaying art. Determining all aspects of artistic display-frames, lighting, wall color, furnishings, floor covering- the artist could proclaim: "Now my rooms are pictures in themselves." Thus the barren field art rooms yet furtile chambers of ArtWork Exhibitions fill the infinite art galleries around the world. The particular style and display of the 'Artists' works reveals the soul of the masterful hand. When visiting the Freer Gallery, it is essential to see 'Whistler's Peacock Room', it's astounding!

David Park Curry, Curator of American Arts, Virginia Museum of Fine Arts appropriately states in the 'Etchings & Dry Points, Venice. Second Series.' as a prelude and/or introduction for more insight: 'In February 1883, Whistler's carefully orchestrated Arrangement in White and Yellow burst like a ray of sunshine on fogbound, soot-ridden London. This one-man exhibition, mounted at the Fine Art Society in New Bond Street, featured fifty-one on the artist's etchings, mostly of Venice. Unlike his paintings, Whistler's etchings have enjoyed almost continuous positive response. For the French critic ThÈodore Duret, Whistler's prints of Venice were those of a painter. "How these etchings reproduce the impression that one reclass having had oneself!" he wrote., from waterside to courtyard, Whistler's images left infinite room for each viewer's imagination and foreshadowed the rising tide of abstraction that would flood art circles of the twentieth century.

Didactic exhibition labels, as we know them were not used in Whistler's day. Instead, visitors relied on small printed catalogues to find the titles of works on view. Whistler's guide for Arrangement in White and Yellow offered far more. In a letter to a friend, the artist crowed:

"Such a catalgue-The last inspiration!...I take...all this I have collected of the silly drivel of the wise fools who write, and I pepper and salt it about the Catalogue under the different etchings I exhibit! In short I put their nose to the grindstone and turn the wheel with a whirr!-I just let it spin!"

After taking his collected snippets of critical commentary out of context and arranging them under the etching titles, Whistler responded with his own caustic witticisms in the margins. The catalogue was sold by an attendant who circulated through the gallery wearing a uniform "in the tints of a poached egg." More than a century ego an earlier edition of this catalogue guided Victorian "gallery trotters" through Arrangement in White and Yellow.'

Nocturne in Black and Gold:
The Falling Rocket
1875, Oil on wood
Detroit Institute of Arts

CAVIARE TO THE CRITICS.

Although the age we live in is one of criticism rather than of construction, when handbooks grow apace, and original writing is well-nigh a lost art, it cannot be said that the self-appointed sitters in judgment on other men's work are credited with complete infallibility, nor are their complacent utterances hailed with unchallenged reverence. The departed leader of the political party, in whose ranks, since his removal, it has been announced by those who have the right to know that literary talent is dormant, enunciated in his penultimate pamphlet (popularly esteemed a romance) the proposition, which has passed into an aphorism, that the critics are those who have failed in literature and art. Indeed, it would seem to be not inappropriate to gird at them in words addressed to the great strategist and his colleagues by a less volatile statesman, "My lords, you are beginning to be found out," seeing that these latter days have witnessed the sight of one of the critical brotherhood turning "approver" in a manner familiar in Irish tribunals, and revealing the singularly material methods in vogue of suborning the testimony of our arbiters of taste. Although all human error and incapacity is to be deplored, yet there is no great reason why eccentric or disingenuous criticism should be cause for unhappiness; still less should encouragement be given to the invocation of the law as a truth-compelling machine. For all honest exponents of literature or art whose work is misrepresented or misunderstood, there is a more excellent way. Let them not fear the father of him who, more than half a century age, was "slain by a review, but rather take to heart Mr. Whistler's new method with critics.

The personal it of the genial cosmopolitan who has made his home in our midst is too familiar to need decription; and all the world knows how it was bidden lst week to the private view of his "etchings and dry points." The throng that pressed into the modest chamber, prepared as "an arrangement in white and yellow, represented all sections of London society that may be gathered together in the first days of a parliamentary Session, including the most illustrious amateurs in the land; and the device of the yellow butterfly, worn by not a few of the fairest of those present, has already become famous; while the catalogue will ever be remembered as the most remarkable compilation in contemporary artistic literature. "Out of their own mouths shall ye judge them," is the motto on the title-page; and beneath the names of each of the half hundred studies exhibited the names of each of the half hundred studies exhibited is printed a quotation from one or more of Mr. Whistler's critics in time past. "Another crop of Mr. Whistler's little jokes," is one of the earliest excerpts, and this was thought by many to supply the keynote to the whole. Doubtless this dictionnaire de l'ignorance critique appeals to one's sense of humour, but it is t the expense of the reviewers that the laugh is raised. The quotation appended to No. I of the catalogue is the portentous sentiment that "criticism is powerless here," and this oracular remark is adopted, with grim irony, in as sense that the suprerior mind that planned the sentence never entertained. It is needless to reveal all the treasures that are contained within the brown-paper covering that is in every one's hands to-day; it only remains to say that, with a touch as delicate as the wings of the butterfly of his fancy, Mr. Whistler, by an infinitely skillful choice of their own words, exposes the pedantry of one, the pompous superficiality of another, and the vulgarity of a third of his assailants. Years ago he wrote in repudiation of the pretensions of certain writers upon art that "a life passed among pictures makes not a painter-else the policeman at the National Gallery might assert himself," and the wit, the wisdom, and the truth of his position here stand proved.

Purple and Rose:
The Lange Leizen of the Six Marks
1864, Oil on canvas
Philadelphia Museum of Art

The newspapers are this week full of descriptions of the posthumous honours paid to a long-despised master of the sister art, but Mr. Whistler, in his generous vitality, will not wait until funeral garlands are twined for him, still less have the diminutive successors of the Quarterly Reviews of a past generation any reason for hoping that he will succumb to their shafts as did the poet whose name was writ in water. The sturdy Puritan stock from which Mr. Whistler comes,though not lacking sensibility, is far from fragile in its traditions-traditions that give its descendants an unfailing resource wherewith to gainsay their adversaries in the vigorous Saxon version of the Hebrew prophet, with whose words he fitly concludes: "Therefore is judgment far from us. we grope for the wall, like the blind, and we grope as if we had no eyes; we stumble at noonday as in the night. We roar all like bears." The World, Feb. 21, 1883.

Atlas,-
There are those, they tell me, who have the approval of the people-and live! For them the success d'estime; for me, O Atlas, the succes d' execration-the only tribute possible form the Mob to the Master! This I have now nobly achieved. glissons! In the hour of my triumph let me not neglect my ambulance.

Mr. Frederick Wedmore-a critic-one of the wounded-complains that by dexterously substituting "understand" for "understate," I have dealt unfairly by him, and wrongly rendered his writing. Let me hasten to acknowledge the error, and apologise. My carelessness is culpable, and the misprint without excuse; for naturally I have all along known, and the typographer should have been duly warned, that with Mr. Wedmore, as with his brethren, it is always a matter of understating, and not at all one of understanding.

Quant aux autres-well, with the exception of "'Arry," who really is dead, they will recover. Scalped and disfigured, they are not mortally hurt; and-would you believe it?possessed with an infinite capacity for continuing, they have already returned, nothing doubting, to their limited literature, of which I have exhausted the stock.-

Yours, en passant,

J. M'Neill Whistler.
Tite Street, Chelsea
The World, Feb 28, 1883

Artchive.com Book At Amazon: James McNeill Whistler: Beyond the Myth

Many times we don't understand what we understand, therefore question understanding of that which we truly understand in order to master what is understood beyond duality's gauss. Everything happening in Human existence affirms creation's changes without compromise to the original idea of Being in Human form. We dialogue and/or speak about an array of things surrounding the Human experience as challenging and this is true. We would not be where we are if we did not travel through the trials and tribulations of uncharted territory internally and externally to get to where we are!

The interface of spirit and matter merged into a particular vessel, vehicle, instrument, 'ARTISTS', etc., all equating the 'Creative Beings' at play in this universal orchestration of life energy. IT is essential! We are infused by sporadic, spontaneous, synchronistic and unpredictable combustulations from 'THE POWER WITHIN' to move, dance and be in the light! Every nuance of this unified field is commanded to produce and perish by design, Bingo! WE GOT IT! We hit the jackpot - otherwise we duplicate and to what degree has one learned and mastered another's methods, approaches, techniques to become an authority without any sense of origination? We may extrapolate causes and effects via the nous of Human consciousness but that doesn't alleviate the universal principle to authenticate the origin of mankind. We 'Artists' are to bring a point of clarity to this vague precept of Human existence through the creative expressions that reveal the undercurrent of life's manifestations. The sublime beauty and majesty maturates for a time, then burst upon the scene as something new, refreshing and unusual for the Human species to adorn in jubilation and celebration for life.

Springtime's arrival indicates the seasonal blossoming of potentially great works of Art to be shared and traversed by the multitudes who appreciates the artistry of the masterful 'Artist' on display. The endangered species called the public seems to be recapitulating by their visibility in attendance to showings, exhibitions, galleries, museums, theatres, etc., instead of being coerced by the dreaded doldrums of mediocrity to remain dull, boring and asleep. That public which doesn't understand the value of their spirit to be uplifted and inspired - instead of always being the last to know about creative freedom; because the imagined leaders of the public are busy being lead into ignorant transference by those who have decided what the public should have access, knowledge or wherewithal through their stratagem of diversionary tactics and distractions leading to Human demise - collapses under the pressure of stagnation.

We 'Artists' must stay vigilant, alert and wise not to fall prey to the enticements to sell out and run away in fear of expressing the hidden agendas for Human executions. It's everywhere and we must keep bringing the enlightenment to the forefront of Human consciousness through the dynamics of 'ArtWorks' on a scale which no individual man can puts sunder. We are blessed to be born with the gift of creativity! Lets not withhold its essential purpose in the first place by being gullible and deceived by the rich and poor concepts of thought. We the 'Artists' as masters of the dawn came into this world to bring light and love to all within reach of the opening to the greatest gateway of freedom, 'SELF EXPRESSION'.

"IMAGINATION
Imagination is pale and fragile,
Dreams grip with a false reality.
Imagination can build bridges,
Dreams can deceive."

"When we dream, the experience is often deeply involving. Frightening dreams make us awake trembling and sweating. Pleasurable dreams leave us with lingering desires. Certain dreams are a form of healing, a way for our minds to recruit and adjust themselves. No matter what, these dreams have no objective reality in our waking world. Imagination is also a form of mental involvement. It is a way of projecting our thoughts into believable images to be contemplated and manipulated. We can play with our imagination, use it to inspire creative projects. Both imagination and dreams are similar activities of the mind, and yet they differ in the level of conscious participation that they permit. In the case of the dream, there is a total suspension of rationality and consciousness, so there is little or no direction possible. There is no mode of control. By contrast, imagination is a tool through which we can make our lives better, different, and creative. By cooperating with it, we can achieve things that 'we never dreamed possible'." - Deng Ming-Dao

Every moment provides the opportunity to awaken and breathe in and breathe out without any attachment to anything presumed to be permanent. The universe is a living organism in constant motion and we are a prime example of this phenomenon. When we are born into the world as Human Beings we have a great undertaking to remain as a 'Child of the Golden Light' and yet grow into a mature, intelligent, wise adult model. What does this mean? We the 'Artists' are the radiant giant. That force of life energy flowing and surging within the mind, body and soul is absolutely imperative in creation. The importance of every Human Being is to express the gifts of life! We have to transcend and encompass 'All That IS' provided by the universe without hesitation. Right where we are is the most profound happening if we can see it before our very eyes. The darkness is penetrated by the light! The unconditional love overflows through the 'ArtWorks' showing the infinite compassion for Humanity. We are triumphant and supreme by all accounts. Nothing can stop life from living regardless of the surface reality. It inspires growth and development of the being evolving to the highest level of creative expression. Everywhere is life. The awakening of one's inner being enables the false self identity to disappear into the abyss from which it came. We are the magic!

The citadel of 'The Evolutionary Expressionism of Life Energy' blossoms in celebration of the 'Artists' to manifest the utopian outlook for the freedom of all Humanity. NOW HOW DOES THIS TRANSLATE INTO RESPONSIBILITY? Well, first of all we cannot be responsible for that which we are not responsible for! The proverbial outburst of rage and anger directed towards the sons and daughters of the Universe, our brothers and sisters, brings us to the principle threshold of a new opportunity to transform ourselves. One already knows how to live in the world without becoming of it. It is the doing of life that creates experience not the avoidance of life with all of it's difficulty.

We are 'Artists', therefore we must be attentive and focused on doing the work that makes an impact of profound revelations upon Humanity when we are true to nature. We can accomplish through ArtWorks the power to encourage Human Beings to stop playing Russian Roulette and put the pychological, physical, mental and spiritual weapons down once and for all to embrace the essence of wisdom that resides within the depths of universal spaciousness. Be it that mankind may by appearance seem inhuman yet beseech the death of soul for immortal Being, like various elements of Christendom etched and carved into monumental alabaster to draw upon inner strength to prevail. We must as 'Artists' continue to unlearn what we have learned of the mind in order to truly learn and apply what is new within the freedom of mind.

When we do not select the changes we want consciously and specifically then we will get that which we do not want readily. It is when we command ourselves to resurrect consciousness to its highest frequency here and now that we transform through observation of ourselves to the 'Great Artist' we are by divine creation. IT IS WHAT IT IS!

"CONCENTRATION
Imagination, song, the soaring spirit.
Separate them to know them
as aspects of the whole,
Join them to know the mystery of totality."

"The mind, if focused, can become the most powerful force we know. Yet for most of us, we are lost in the vastness of our own uncharted minds. We play around with different aspects, find certain modes that we can get by with, and leave the rest unexplored. Those who follow Tao do not do this. They want to explore all the dimensions of the mind so that they may find a wholly integral mode of consciousness. The primary means of exploration is through concentration of the mind. Practitioners first select an aspect and delve into it by daily focus. Only when they have fully understood do they go on. It is like studying. When you are first introduced to a subject, you must put your attention to work in order to master the knowledge. Such concentration leads to absorption, like mixing liquids together in a bottle: Once they are combined, they cannot be distinguished from one another. With concentration, all the various aspects of the mind can be joined together into one super conscious mode. Sound is the same as sight, taste is the same al smell, touch is the same as thought, and all that we are is identical with the spiritual energy that resides within us. In this high concentration, there is complete union, and we feel the joy of total integration with all our facets." - Deng Ming-Dao

When the spirit takes on a Human form the forehead of this new born child is automatically stamped 'property of....' parents, city, state, country with social security number, birth certificate to prove it was born onto the earth planet and must be tracked, monitored and controlled every step of the way, until this personification deceases. These labels have increased over time and never cease or desist until the silence beyond the tombstone shuts out the noise as the silence before the conception did apparently. Once again the soul sojourns into another character role for further Human experience. It has been said that life is birth-day and death-day and the dash or hyphen between is the continued journey the traveling soul has undertaken. Be that as it may, it stands to reason that every soul plays many character roles along the way of 'The Evoluntionary Expressionism of Life Energy'.

MACBETH:
"...To-morrow, and to-morrow, and
to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing." -William Shakespeare

Thereby fellow 'Artists', creative Beings of the universe, we are here, there, everywhere in mind, body, soul and spirit celebrating the resurrection, revitalization and vigilance of the life living the life! We love unconditionally and enjoy sharing all that we are with our brothers and sisters upon this sojourn. The lights are on and all is taken care of by the Grace of 'All that IS' one breath at a time. Easter is another cornerstone in the cosmic foundation of springing friendships, peace and goodwill toward all created things manifest in the jubilation of dancing sparks of transparent light which encompasses the wholeness of Being Human...So let it be and so it is! The Sun Shines....

....John J. Steven Cole

JJSC

"Be attentive to what you do; never consider anything unworthy of your attention. "
- Confucius

BREATHE...LET GO...RELEASE BODHI-BEING BODY BEAUTIFUL AND LOVE YE ONE AN-OTHER!

"UNDOUBTEDLY WE BECOME WHAT WE ENVISAGE"

- Claude M. Bristol

Freer Gallery of Art

Guardian Figure [wood], Japan
Kamakura period, ca. 1300-1333

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Books of Great Insight and Wisdom

THE ART OF HAPPINESS AT WORK -
His Holiness The Dalai Lama and Howard C. Cutler, M.D.
HAND OF LIGHT, A GUIDE TO HEALING THROUGH THE HUMAN ENERGY FIELD -
Barbara Ann Brennan
CREATING TRUE PEACE -
Thich Nhat Hanh
THE UNIVERSE IN A NUTSHELL -
Stephen Hawking
LETTING GO OF THE PERSON YOU USE TO BE -
Lama Surya Das
JAMES MCNEILL WHISTLER: BEYOND THE MYTH -
Ronald Anderson, Anne Koval

[Available through CCPI-Booklist]

Click the Door to the Reading Room

William Blake 1757-1827
Jerusalem Plate 31

News Bulletin

R. LANE CLARK
Art Exhibition

TOPAZ ARTS
55-03 39th Avenue
Woodside (Queens), New York 11377

Opening Reception: May 2, 2004: 2:00 PM - 6:00 PM Exhibition Dates: May 2 - June 11
Gallery Hours: By Appointment
Call: (718) 505-0440
or email:

For Directions and Information please visit:
Web Site: TOPAZARTS.ORG

Preview R. Lane Clark Artworks in CCPI's Virtual Gallery: R. Lane Clark

Announcements

Places, People & Things Forthcoming & Ongoing:

CREATIVE WORKSHOPS FOR LIFE!
SPRINGTIME WORKSHOPS/CLASSES
Baltimore, Columbia, Maryland;
Washington D.C. Metropolitan Area

ACTORS' EMPOWERMENT • ACTING IN LIFE WORKSHOPS
WILL BE IN APRIL '04
&
SIX WEEK CLASSES
(Stage, Film & TV Acting For All Levels - Beginners, Intermediate, Advanced)
STARTING IN JUNE '04

For further information

Evolutionary Expression

Cruciformed, 1994.
Acrylic on Canvas

Poetry #161

CREATIVE BEING

Laws upon laws
Madness upon madness
The rigidity in places,
To take the soul and
Shut it down.

Man's rational mind has
Gone haywire,
Seeing itself as separate
From his Creature hood.

Whatever, detach, see, and
Attune to that which is greater,
That which encompasses all life.
Open creative being and the
Magical life which is heritage.

Simple, Simple, Simple
Birthday beginning
Setup event participation
To meet someone years later
With Ifs' for the unforeseen.

So, what creative being
Set attune to recognize
The greater idea,
Concepts attempt
To be expressed,
By whom not yet able
To conceptualize and execute
The forms.

By JV Harvey

Emerson's Address

CAMBRIDGE, MASS., SUNDAY, JULY 15, 1838

Jean-Antoine Watteau
Mezzetin c. 1718-1750
The Metropolitan Museum of Art, New York

Appreciation & Gratitude

We sincerely appreciate all the contributions on every level in support of our efforts to collectively bring about joy, happiness, loving-kindness, peace and goodwill to all of Human Kind. Now is the time and the time is eternally now to give thanks, for the whole of creation to continuously bring about an harmonious convergence for the sake of humanity.

Thanks to every one of you individually in our cyberspace community for the constant inspiration, insight, encouragement, support, interest, inquiry, purchases and/or financial contributions to the work of 'The Evolutionary Expressionism of Life Energy' ArtWorks/Poetry by JV Harvey and Colveyco CPI. We are overjoyed to increase public awareness for visitors, patrons, collectors, curators, connoisseurs of Art, to view our Virtual Art Gallery Series and affiliate Artist's Sites in addition to attending Art Exhibition Shows/Events around the world.

Easter's Celebration!

Farewell To Messengers

"We part at the crossroads,
You leave with your joys and problems,
I with mine. Alone, I look down the road.
Each one must walk one's own path."

"People's paths come together all too briefly when sharing friendship, but that makes those times no less valuable. We must take advantage of support and sharing in a mutually beneficial way. Whenever we take from another, we should try to give back something. This is fundamental. No one should lean on another person, or expect another to carry them a long distance down the road. Friends should walk side by side for as long as their journey carries them, without becoming dependent on one another. There should be no obligation. If I can help someone do something, then I should do so without any hesitation or expectation of reward or debt. If there is something that I need to learn and my companion can show it to me, then I should accept it in humility. No one "owns" knowledge. It should be freely shared. Parting is inherent in all meeting. Nothing lasts forever. Transience is what gives life poignancy. Every person is responsible for himself or herself. There is no road to walk but your own."

- Deng Ming-Dao

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